Встреча с легендой.

Упс… закрылся наш MOODLE на обновление… Положу тут ссылки учебные, пардон, что вне формата закладки…

Gregor Halenda Wins Hasselblad Masters…

Небольшая галерея здесь:

http://altpick.com/members.php?id=18072



Сайт:

http://www.gregorhalenda.com/

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wall space | seattle
joanne koltnow

(натюрморты; на просвет…)

Ted Sabarese, New York
Evolution

Рекламная серия:

http://photoawards.com/07/DigitalEntrie ... 7548_2.jpg

http://photoawards.com/07/DigitalEntrie ... 7548_3.jpg

http://photoawards.com/07/DigitalEntrie ... 7548_4.jpg

http://photoawards.com/07/DigitalEntrie ... 7548_5.jpg

http://photoawards.com/07/contests/winn ... d=%2037548

http://www.wallspaceseattle.com/koltnow0.php

Книга

Art Principles In Portrait Photography
Composition, Treatment Of Backgrounds, & Image Manipulation
By Otto Walter Beck Instructor In Pictorial Composition, Pratt Institute

http://www.rodsmith.org.uk/art-principles/

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Перспектива
scottmcdaniel.net — DRAWING COMICS
http://www.scottmcdaniel.net/drawing/pe ... rimer.html

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YouTube — 50 Principles of Composition in Photography
http://www.youtube.com/watch?v=fJE1vWdg ... re=related

YouTube — The Portrait Photography Masterclass
http://www.youtube.com/watch?v=lkwH8NQL ... re=related
YouTube — Photography tips — Creating a portrait with one light.
http://www.youtube.com/watch?v=rKsVM0ku ... re=related

YouTube — Visatec Glamour Portrait Studio Lighting Technique
http://www.youtube.com/watch?v=nSfNZrGD ... re=related

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Butterfly Lighting on a budget
http://www.studiolighting.net/butterfly ... -a-budget/

HOW TO SET UP BUTTERFLY LIGHTING FOR PHOTOGRAPHY
http://www.wonderhowto.com/how-to/video ... hy-161898/

How To Create fashion photography lighting on a budget
http://www.wonderhowto.com/how-to/video ... et-182025/

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green screen studio at Intel
http://blog.snapfactory.com/?p=336

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Reflector Card Cheat Sheet
http://www.diyphotography.net/reflector ... heat-sheet

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A Portrait Trio — 1 Jim, 1 Model and 1 Light
http://www.diyphotography.net/a-portrai ... nd-1-light

Остальное:
http://prophotolife.com/video-library/

Странно, но Joyce Tenneson, по поиску тут не находится внешнему. А помню отчетливо, что на одну ее серию ссылки складывал. Возмжно все же, что не здесь.

Поводов несколько — вышла книга в этом году, да и встретились галереи там, где не ожидал увидеть. Так что вот, некоторое количество ресурсов из довольно большого числа равно стоящих внимания, хотя, конечно, на любителя… Но — семь книг, более полусотни выставок за длинную и успешную карьеру…

Joyce Tenneson

Если вы просматривали страницы конкурса Hasselblad Masters, то не могли не увидеть в иллюстрациях '2003 эту известную работу:



http://www.hasselblad.com/masters-2003/ ... neson.aspx

Проекты на сайте автора (иллюстрации небольшого размера):

http://www.tenneson.com/gallery.html

John Paul Caponigro > Library > Artists on Art > Joyce Tenneson

This conversation was first seen in the November/December, 1996 issue of View Camera magazine.

Haunting, ethereal, pensive, mystical, disturbing - all of these words describe the photographic style of Joyce Tenneson. Her pictures command a complex and intense emotional response from the viewer, something which has made Tenneson one of the most respected photographers working today. Though she photographs other subjects (including men, children, and objects), her most famous images are of the female form, often partly shrouded in gauze, or fragmented within the frame, and frequently lit in an otherworldly glow. She has been described critically as 'one of America's most interesting portrayers of the human figure.' Her work is a mysterious alchemy of sensuality and spirituality.

John Paul Caponigro Why photography?

Joyce Tenneson I've been interested in all the art forms. I'm interested in people and photography allows me to work with people easily and quickly. Both you and your father don't deal so much with the person and you love photography. But for me it's the psyche. I am really interested in people; in bodies, in skin, all the abstractions of people too, shapes, gestures, etc.

http://www.johnpaulcaponigro.com/lib/ar ... nneson.php

PDN & Kodak Professional Present Legends Online: Joyce Tenneson

PDN: How did you get your start in photography?


Larissa D., Slovenia

JOYCE TENNESON: My career in photography goes back almost 30 years now. I was very interested in the arts all my life, and went to a small Catholic girls school, where I majored in literature and minored in art. We had a very small program, and no photography. When I did my Masters degree, I took a concentration in photography and art history. And luckily, back then, teaching jobs were more available, so I was right away able to teach on a college level, and started the first photo program in Washington, D.C., at a community college. I then moved on to the Corcoran School of Art, and the Smithsonian, among other places.


Sheryl and Sef, United States


Polina, Russia

http://www.pdngallery.com/legends/tenneson/

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Photo Insider : Joyce Tenneson



…After our interview, Tenneson had arranged for a friend and a former student to show me her work for possible publication. Even if I hadn't thought the work was wonderful - which it was - I was very impressed by this accomplished artist's generosity and thoughtfulness toward a younger photographer. Furthermore, she then invited a group of young assistants and interns to a lecture that evening given by another photographer.

Recently, I stepped into Tenneson's Manhattan studio and was graciously ushered into her working world. White walls and high ceilings were softened by a sparse decor including architectural elements sculpture, and hydrangeas. She proceeded to show me several trays of work much as she would show them in a lecture or workshop. Haunting Soprano voices wafted in the background from a CD.

Photo Insider (PhotoInsider): One if the hallmarks of both your fine art and commercial work is you very distinctive style. How did that develop?

Joyce Tenneson (Tenneson): I very strongly believe that if you go back to your roots, if you mine that inner territory, you can bring out something that is indelibly you and authentic - like your thumbprint. Its going to have your style because there is no one like you. (Tenneson shows family photos from her childhood. These include the photographer and her two sisters dressed as angels for a Christmas pageant, wearing shiny crowns and a bride in a white flowing dress floating among a dozen nuns in black habits.)

PhotoInsider: It's not a far path from these images to your contemporary work with wings, caps, and a feeling of spirituality and suspension in time and space.

Tenneson: As a child, I lived on the grounds of a convent where my parents worked. We were enlisted to be in holiday pageants and processions. It was a mysterious environment - something out of Fellini - filled with symbolism, ritual, beauty, and also a disturbing kind of surreal imagery.



http://www.photoinsider.com/pages/tenne ... nesen.html

The Microsofte ProPhoto

Joyce Tenneson







http://www.microsoft.com/prophoto/galle ... llery.aspx

Joyce Tenneson
Enigmatic, sensuous images

Internationally lauded as one of the leading photographers of her generation, Joyce Tenneson has work published in books and major magazines worldwide.

As critic Vicki Goldberg states: "Tenneson possesses a unique vision which makes her photographs immediately recognizable. She creates enigmatic and sensuous images that are timeless and haunting. Whether a classically draped nude or a mysterious portrait of a young child and an aged man, her photographs speak to the fragility of life, its poignant beauty—and its pain. The images are deeply affecting, often evoking forgotten memories."

Tenneson is among the most respected photographers of our time. Her work has been shown in exhibitions around the world and is part of numerous private and museum collections. Her photographs and portraits appear frequently on the covers of magazines such as Time, Life, Newsweek, Premiere, Esquire, and the New York Times Magazine.

Tenneson is the author of twelve books, including the best seller, Wise Women, which was featured in a six-part Today Show series.

She is also the recipient of many awards. In a recent poll conducted by American Photo Magazine, readers voted Tenneson among the ten most influential women in the history of photography. The Lucie Awards named Joyce Tenneson as the Fine Art Photographer of the Year 2005.

http://www.microsoft.com/prophoto/galle ... n_bio.aspx

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Lowepro | Joyce Tenneson



"I love to be around people and interview them and hear their stories. I'm always interested in what lies below the surface of people; when you get below the surface, there's often an archetype.

Recently I decided it was time to look at the end of the life cycle. It was a pleasant surprise. Most of the women I photographed for Wise Women had never been happier. They hadn't been asked questions like that and I loved their enthusiasm when they realized they were people who were worthy of being interviewed."

Joyce is among the most respected photographers of our time. Her work has been shown in exhibitions worldwide and is part of numerous private and museum collections. Her photographs and portraits appear frequently on magazine covers. She is described as one of the ten most influential women in the history of photography.

http://www.lowepro.com/photography-show ... e-tenneson

Joyce Tenneson, Featured Artist @ Polaroid.com

Joyce Tenneson, the award-winning and esteemed photographer described as "one of America's most interesting portrayers of the human figure," has made Polaroid instant photography a large part of her work.


Lisa, 1999
Joyce Tenneson
Polaroid Cross Tone photograph

http://www.polaroid.com/studio/artists/ ... index.html

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Joyce Tenneson : From the "Wise Women" Portfolio
Fraser Gallery : Limited Edition Portfolio


Coretta Scott King


Jessica Tandy


Odetta

http://www.thefrasergallery.com/artists ... Folio.html

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JOYCE TENNESON, с любовью



Фотографии Джойс Теннесон – это таинственный мир алхимии чувственности и духовности. Она автор 10 книг, ее персональные работы учавствовали в более чем в 150 выставках по всему миру и включены в коллекции многих музеев и частных собраний. Портретист с мировым именем, она работает как в художественной, так и в коммерческой фотографии (реклама, fasion, портрет). Теннесон владелица многочисленных наград, включая International Center of Photography's Infinity Award, также она была названа одной из самых влиятельных женщин-фотографов за всю историю фотографии.

Но это все слова. Как написала Helen Keller о работах этого фотографа: «самые лучшие и самые прекрасные вещи в мире нельзя увидеть или потрогать, их можно только почувствовать, сердцем».

"Joyce Tenneson, соединяя чувственность и духовность, создает в своих работах неземные и часто мистические образы, за что критики называют ее «одним из наиболее интересных портретистов человеческой натуры.»

Она родилась 29 мая 1945 года в Бостоне, Массачусетс, ее детство нельзя назвать обычным. Джойс выросла при монастыре, где работали ее родители; уклад и философия монастырской жизни оказал существенное влияние на ее дальнейшее творчество. «Мир, в котором я выросла, наполненный ритуальностью и цикличностью,в изуально не давал мне покоя. Вероятно поэтому я уже навсегда очарована наблюдением за разными этапами жизни – рождение, старость и возрождение. »

После получения диплома Master of Fine Arts (George Washington University), Джойс Теннесон зачисляется в этот же университет как преподователь. В свои двадцать она изучает автобиографический аспект фотографии и создает сотни автопортретов. Позже она скажет, что с каждым годом ее работы становились все более метафоричными, превращаясь «в визуальный дневник, который отражал мою внутреннюю жизнь». За 15 лет преподования в университете этот «визуальный дневник» вышел в свет в виде двух книг – «IN/SIGHTS: Self-Portraits by Women», 1978 и «Joyce Tenneson, Photographs», 1983. Tenneson становится известной, участвует в международных выставках, бросает преподавательство и переезжает в Нью-Йорк. «Я ощущала усталость и острое желание двигаться вперед, расти персонально и профессионально. Переезжая в Нью-Йорк я хотела попытаться внести смысл духовности в мир коммерческой фотографии».

Работы Joyce Tenneson пользуются успехом. Она снимает портреты знаменитостей и печатается на передовицах топ-журналов. В 1989 году Joyce Tenneson публикует третью книгу - "AU DELA".

"Меня всегда приводили в восторг жизненные циклы - от рождения к смерти, то, как время изменяет фактуру кожи, как свет изменяет очертания тела...

текст, перевод: forrevver
по материалам: joycetenneson.com, kodak.com, pdngallery.com, sfworkshop.com, talentdevelop.com
изображения: joycetenneson.com, pdn-pix.com (off-line)

http://www.deepsavana.com/pagesid-116.html

Вторая часть:

http://www.deepsavana.com/modules.php?n ... ge&pid=118

а между тем в Московии выставка Михайлова к 70-летию русского(!) фотографа:

Борис Михайлов «Исторические инсинуации»
К 70-летию со дня рождения автора
Россия. Москва

[Объявление перенесено: http://forum.znyata.com/viewtopic.php?p=40067#40067 ]

Подборка из разных серий:















http://www.tendreams.org/tenneson.htm

…a transcript of Robert Farber's interview with Joyce Tenneson.

Robert Farber: I'm here in Florida with Joyce Tenneson, and Joyce is being part of this photo fusion at the Palm Beach Photographic Workshop. So I've had the opportunity to interview Joyce and really find about her career and herself. Joyce, where are you taking your career now, what are you working on?

Joyce Tenneson: I'm working on my sixth book, and for the first time in years I've gone back to black and white and so my new book will be a black and white book. I'm very very excited about it because, in a way, it sort of feels to me the new work which I call Spiritual Warriors is almost coming full circle from where I started out 25 years ago. It's very autobiographical.

Robert Farber: Talking about coming full circle, where did you start 25 years ago? Were you an art director before, a painter, what background did you come from?

Joyce Tenneson: I started as an art school professor in Washington, D.C. and I taught in art school for fifteen years before I moved to New York City. So my roots are very much in fine arts and before that in literature--an avid reader. For me, photography has been a passionate journey, and a way of recording my life metaphorically. All my imagery stems from the unconscious and it's my attempt to make visible the inner workings of my heart and my soul. So my work is very personal.

Robert Farber: The ethereal quality you have and that's become such a signature style with you, do you find that you want to move away further from that just for new directions? Is that what your new black and white work is about?

Joyce Tenneson: Yes. All my work evolves in a very subtle, I think, form. Just the way our lives evolve from year to year. They may not look terribly different to an outside viewer, but to us the changes over the years are significant. If you look back on your life and think of who you were 20 years ago, you can hardly imagine I'm sure it's the same universe. When I started out I had had a very circumscribed life in a way, and now I feel like I have had a chance to taste and experience so much that has given me a different kind of wisdom and a different kind of compassion. My work has obviously changed from all of that…

http://www.photoworkshop.com/static/wor ... neson.html




"Joyce Tenneson: Photographs," a retrospective exhibit of the photography of Joyce Tenneson, is currently on display at the Whistler Museum of Art.

Combining sensuality and spirituality, Tenneson's images explore her fascination with life's transformations. Of her critically acclaimed work, the photographer says "I have been on a journey, like many creative people, to become free and to use my talents to let my voice out into the world. I've been driven all of these years and I've been fierce in my dedication.

Tenneson recently gave a tour of the exhibit to WBUR producer Christine Fichera.

Join Joyce Tenneson on a multimedia tour of her photographic repertoire "Joyce Tenneson: Photographs."

Multimedia :: Joyce Tenneson: Photographs

A new exhibit at the Whistler Museum of Art features a retrospective of well-known photographer Joyce Tenneson's work.

http://www.wbur.org/arts/2004/49323_20040220.asp

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Softars & Joyce Tenneson

Raleigh Dog , Apr 23, 2001; 08:13 a.m.

Ok, I know photographer Joyce Tenneson uses primarily Canon equipment, but I'd like to know how to get the equivalent soft effect of her photos (her book 'Illuminations', specifically) with the Zeiss softars for Hasselblad. I have a feeling I'd need at least the softar III, but I can't find any good examples of images. Wildi's book has an example, but it is small and in black and white. I've check the archives and haven't found anything related to a specific "famous" artist's work to use as a point of reference. I know WHAT the softars do, but I'm looking for people who have familiarity with Tenneson's work. Thanks.
Answers

Simon Gammelin , Apr 23, 2001; 09:29 a.m.

I read once (and this was a number of years ago, so she may be more open now) that Tenneson was VERY "secretive" about her methods, not wanting others to steal her "look." Fwiw, my understanding is that for her look the quantity of lighting is responsible for the quality of the look more than the lens is. Apparently she uses (used?) bazillions of softlights, from all directions, to get that soft look. That and "high key" printing (or, as David Vestal would call it, "overexposure").

Maybe there's been more on her technique since then, but then I think her look has changed a bit over the years also.

Ellis Vener [Hero] [Frequent poster] , Apr 23, 2001; 12:13 p.m.

I just attended a lecture by Tenneson last month. The only thing she mentioned about techniques is that she creates her own backdrops. Also looking at the images projected really large it seemed to me that some of her studio work is double exposures: a final image might consist of two exposures one with the model and without the model present. I suspect that if this is the case she is playing with the balance of exposures to get just the effect she wants. Also it is clear that she does a great job of lighting with lots of softboxes for overall smoothness and low contrast but still creates a sense of where the main light on the subject is coming from. Remember she trained as an artist first and then picked up photography so she is bring that training & sensibility to her work. Compare her work to some of DaVinci's drawings for example. And also her "style"-- like her lighting skills, ability to direct models, use makeup well and create sets -- is in the service of her subject, which seem to me to be some very internal issues she is working on: emotions, ideas about the body, ideas about how bodies are perceived, how she perceives herself, the aging process, etc.<P> Specifically regarding filters. She might start with Softars but my sense is she either modifies them or creates unique filters or possibly uses filters from other sources. Maybe Harrison & Harrison? I'd also be really surprised if she only used Canon equipment prior to their sponsorship.<P>She was very firm about her need to control every aspect of the creation of the work and the reproduction in books and described herself as "a control freak."

Mark Parsons , Apr 23, 2001; 02:22 p.m.

She did most of her famous work on large format, and I believe Ellis is right - I read an article on her once which mentioned that she did some additional exposure of the background without the subject (almost like flashing the film, if the background is featureless enough) in order to get things way up on the tonal scale. And the answer isn't softening filters - some of her best stuff is very sharp, but very softly lit (i.e. lots of softboxes) and printed very high key, and overall has low contrast and low color saturation.

Best,

http://photo.net/medium-format-photography-forum/001MTM

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Joyce Tenneson Offers One-Day 'Lighting for Dummies' Workshop



Many of my former students have asked me to teach a one-day crash course in studio lighting. This workshop is for people with no lighting experience, who would like to be able to set up a simple, inexpensive lighting studio in their own homes!

Description
This is basically a lighting for dummies workshop! In one day, participants will learn how to set up their own studio lighting kit. They will be empowered to leave the workshop, confident in their ability to set up their own studio in their home! We offer a money-back guarantee to anyone who is unable to feel confident after the Tenneson method is presented!

Cost
$300 (includes a sandwich lunch)
Class size is limited to 15 people

Joyce Tenneson

Подборка работ на History of Art















http://www.all-art.org/art_20th_century/tenneson1.html

Pirelli Calendar by Joyce Tenneson anno 1989



The legend
This year it is Annie, the wife of art director Martyn Walsh, who suggests the winning idea for the Calendar.

This is an era in which astrology is becoming more and more the fashion. Annie's idea to produce a Calendar based on the Zodiac signs and not the months is liked very much by Walsh, even though he is aware that the Zodiac is not exactly an exclusively female subject.

The idea is as old as myth and has an immediate impact on the observer. No photographer so far, has thought to illustrate the Zodiac signs in human form, much less with women.

Walsh, while looking through the French edition of Vogue, found photos which represented women as mysterious and ethereal, images close to what he has in mind for the Calendar. The author of the photos is the famous: Joyce Tenneson.

Tenneson has been a fine arts professor at Corcoran, an art school in Washington D. C., all the while maintaining her passion for photography. It is the second time in its history that a women is chosen to photograph the Calendar.

The photography is done in a studio in New York and there are twelve models, one for each month of the Calendar: Lisa Whiting, Nicky Nagel, Dannielle Scott, Brigitte Luzar, Gilda Meyer-Nichof, Kathryn Bishop, Susan Allcorn, Susan Waseen, Rosemarie Griego, Akura Wall, Gretchen Eichholz, and Rebecca Glen.

The entire project is done with a Polaroid, an instrument which Tenneson dearly loves, because she is able to reproduce the skin tones exactly to her taste.

The final results are delicate photos, with soft colours-images which have a bit of mysticism in them.

Presentation
The Pirelli calendar's second woman photographer took the 1989 pictures. She was Joyce Tenneson, an American expert in Polaroid photography. Delicate shots showed her models wearing or carrying items on which the P6 pattern was embellished. During a live show from the 1990 calendar launch venue in a Vienna night-club, one calendar was mentioned on the air. The proceeds would go to a fund for the training of Austrian athletes with Olympic potential. That calendar was sold for the equivalent record sum of $84,000.

The theme
A tyre footprint was the leit-motiv since 1984, but now it becomes nearly imperceptible in this edition, which is characterised by a hymn and description of the zodiacal signs, represented by each of the twelve models. Photographer Joyce Tenneson is the second woman called to give life to the Pirelli Calendar. The sequence of the months is given according to the natural rotation of the star signs.

The photographer(s)
Joyce Tenneson is the second woman (after Sarah Moon) to photograph a Pirelli calendar. Tenneson lives and works in New York where she is considered one of America's top portrait photographers. She began her career as a fine arts teacher at Corcoran School of Fine Arts in Washington DC. Her photographs have been published in numerous magazines, such as, Taxi, LA. Style and Vogue. Tenneson is a big fan of large format Polaroid, which she especially likes for the skin tones she achieves with this film. Her work is on display in more than ninety museums and galleries all over the world.

Tenneson photographed the 1989 edition of the calendar.

http://www.pirellical.com/noflash/jsp/C ... 89&Lang=en



http://ana-lee.livejournal.com/95850.html

http://www.mdf.ru/english/exhibitions/m ... lndr_fs05/

http://www.mensvogue.com/arts/slideshow ... i?slide=11

Joyce Tenneson Books

http://www.womeninphotography.org/BookReviews/book.html

A Life in Photography
1968-2008
Photographs by Joyce Tenneson. Introduction by Vick Goldberg.
Bulfinch, Boston, 2008. 160 pp., 106 duotone and 4 color illustrations., 9x11".



Traveling beneath surface appearances to record her subjects' inner beings, Joyce Tenneson has developed and pursued a distinctive style through an evolving series of palettes—from the light, unearthly shades of Transformations, to the deeply rich hues of Light Warriors, to the soft brown tones of her groundbreaking study of beauty and aging, Wise Women. Collected in one book for the first time, the finest images from Tenneson's hugely influential career take readers on an illuminating journey through the life and work of a unique talent in contemporary photography.

An introduction by the noted photography critic Vicki Goldberg, as well as an afterword by Tenneson herself, chart Tenneson's growth as an artist and shed light on the most pivotal moments in her career.

http://www.photoeye.com/templates/mshow ... alog=BF219

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Marge Casey + Associates — Photo Agency New York : Joyce Tenneson

Marge Casey + Associates representing photographers. Agents: Marge Casey and Patrick Casey.

Portraits, Beauty:

http://www.margecasey.com/joycetenneson

NOVA_GALLERY:

а между тем в Московии выставка Михайлова к 70-летию русского(!) фотографа:

Борис Михайлов «Исторические инсинуации»
К 70-летию со дня рождения автора
Россия. Москва
RIgroup,
Часы работы: 12.00 – 20.00, кроме пн
Россия, Москва, 4-й Сыромятнический переулок, д. 1, стр. 6, к. 4 ,
Проезд: Центр Современного Искусства Винзавод,
тел.: (495) 917-46-46



http://www.photographer.ru/events/afisha/3283.htm

и интервью с ним:
http://www.photographer.ru/person/3287.htm?pic=6#show

вот куда следовало бы поездку организовывать!

Еще закладочка учебная для студентов:

Edwin HO — Conceptual Beauty & Still Life Photographer

Edwin HO Is a native Singaporean who was formally trained in the United States and now resides in New York. Considered to be one of the most talented young and upcoming photographers he has shot numerous local and international campaigns for major brands and publications.

Within the past two years companies such as Philip Morris Marlboro, Baileys, Nokia, Motorola, SONY, Johnnie Walker, Singleton, Tiger Beer and Miller Beer have all engaged his services and tapped into his unique approach to Conceptual and Composition style photography.

Publications such as Marie Claire US, Flaunt, Maxim US, In Style, ZINK , SLAM and Vs, Everyday with Rachael Ray, More magazine and City Magazine in New York have all recently featured his work.

Edwins strengths not only rely on his creative and technical abilities but go deeper due to is past experience in the publication field.
Having had over ten years experience as an art director for leading fashion and lifestyle publications in South East Asia he had the opportunity to work alongside some of the top fashion photographers and stylists in the region for productions both local and on the international arena.

This experience allows him to understand the entire production process from inception to completion and ensures that pictures are shot with the end in mind. In addition to this his digital imaging capability and process knowledge gives him the advantage of being able to visualise the finished product from the conceptual stages and throughout the shoot.

Edwin HOs portfolio shows not only a great eye for detail and love for high contrast definition but also a level of spontaneous creativity and craziness that is rarely seen in photographers today. His extensive of range commercial and other personal work is portrayed on his website at www.edwinho.com.

Edwin HO is represented by MARGE CASEY ASSOCIATION for the US Market and CLIQ SINGAPORE for the Asia-Pacific Market.

http://www.edwinho.com/

Marge Casey + Associates
www.margecasey.com

CLIQ Asia
www.cliqasia.com

The Hasselblad Masters
2003

August — Nicholas Sinclair



…His work has been widely exhibited and published in Britain and Europe and three books of his work have been published - The Chameleon Body ( 1996 ), Portraits of Artists (2000 ) and Crossing the Water ( 2002 ). Sinclair works principally as a portrait photographer with a strong interest in identity and the idea of evolving, shifting and multiple identities.

“We’re all vulnerable and fragile, in both body and mind. As a portrait photographer, I’m more interested in reflecting this susceptibility rather than reproducing the facade that people often present in front of the camera. I strive to depict people’s identities, to show how they can develop, change, and sometimes be divided. To this end I’m happy to work with people that have chosen a different or an alternative path through life. My first work on this theme was based on the European Circus in Paris and London at the beginning of the 1980s. The Circus is a place where the transgressive and the transfigurative become acceptable, where the identity and gender of the performers can shift and where people,who in other circumstances would be considered misfits, are given a voice. I further developed the theme of shifting identities in the 1990s with The Chameleon Body project, which resulted in my first book.”

http://www.hasselblad.com/masters-2003/ ... clair.aspx

Новые работы:


Budapest


Paris


Berlin

Новая книга:



Berlin: Imagining the Tri Chord
First published by Royal Academy Publications in 2007. With an essay by David Chandler. These photographs, made between 2004 and 2006, document the changing face of East Berlin. Also published in a limited edition to include a signed, original print.

The title of the book is Nicholas Sinclair's adaptation of the musical term the tritone, an interval that creates a sense of tension and suspense, a mood evident in these haunting photographs. Divided into six themes - the Spirit, Melancholia, Conflict, Desire, Anarchy and Control - these photographs form a fascinating record of Berlin's vibrant and scarred landscape. Sinclair's painterly eye searches out marks and images left by the city's inhabitants. Working like an archaeologist he uncovers the rich layering of history in cracked and peeling paint on walls and surfaces. When these patterns are echoed in the blemishes on the skin of a young Asian girl from Berlin, a powerful resonance is set up between the city's fabric, its inhabitants and collective life that takes shape in these arresting and poetic images.







http://www.nicholassinclair.com/tri-chord-gallery.html

Kyffin Williams Portfolio

A portfolio of twelve portraits of the iconic Welsh artist Sir Kyffin Williams RA is available to collectors. The portfolio includes twelve 20 x 16 black & white selenium toned silver gelatin prints, each print signed and numbered by Nicholas Sinclair.

The photographs, taken between 1987 and 2003, are now recognised as the definitive portraits of the artist. They show Sir Kyffin Williams in his studio on Anglesey, in the landscape of North Wales, in his garden and in his home.

http://www.nicholassinclair.com/portfolio2.html

http://www.nicholassinclair.com/

Нашлась подборка ссылок в связи в выставкой в Стокгольме, по поводу которой как-то было упоминание:

http://alexandrepomar.typepad.com/alexa ... ich-1.html

MIROSLAV TICHY & JULIA MARGARET CAMERON
January 26-March 23, 2008
Curator: Tessa Praun
Magasin 3 Stockholm Konsthall



Magazin 3:

Working independent of his contemporaries in the 1960’s, 70’s and 80’s, Miroslav Tichy (b. 1926) created an idiosyncratic style, fascinating in its imperfection and reminiscent of photography’s early experimental years. Using homemade cameras Tichy took blurry mottled photographs in his Czech hometown Kyjov – anonymous portraits, often framed by elaborate mounts.

In contrast, Julia Margaret Cameron (1815–1879) was an early star in the writing of photographic history. As part of Victorian England’s privileged cultural elite she was able to devote herself to exploring the new medium of her time, assiduously taking portraits of her circle of friends. Authors, scientists, artists and their families were captured in dream-like, allegorical images or intimate portraits. Cameron gained early acclaim as a photographic innovator for her experiments with composition and lighting.





Фрагменты текста из каталога:

I have never done anything else than letting time pass by. I go to town and must do something than just doing nothing. So I was simply pressing the release. (Miroslav Tichý)

Movement, laughter, a wink, a word – click – a moment captured inside the camera and later released to spread out on the paper. The magic of photography that is created in the dark by letting in light for a certain time. Physical turned abstract turned physical again. The transformation from colour to black and white, from three-dimensional to two-dimensional. Movement is frozen, sound is silenced. Time has stopped in one eternally long moment. Time – a fundamental concept that is nevertheless hard to define. Time – a crucial element in photography. The poetry of photography comes from the artist’s awareness of the interplay between light and time, and it invites the viewer on a voyage through a world characterised by the attempts to erase the boundaries between past, present, future.

I longed to arrest all beauty that came before me, and at length the longing has been satisfied. (Julia Margaret Cameron)

Two artists who have chosen photography as a means of expression, separated by an era. Their works are fundamentally different yet related, they seem contemporary yet timeless. They are united by a will and ability to capture the spirit of their time and immortalise it. The respective visual idioms of Miroslav Tichý and Julia Margaret Cameron are the result of vastly different circumstances. Tichý composed startling images that make the depiction appear exciting in all its familiarity. Cameron has portrayed celebrities in relaxed moments and their families have posed as idealised beauties. The activities of both strive to capture the commonplace and hold the extraordinary, in an attempt to make the ephemeral moment last a little longer or minutes to appear spontaneous.

http://www.magasin3.com

История не закончена, впрочем… — при безусловно поразительном развитии событий скепсис в целом и вопросы по поводу «кураторского феномена» и легитимности использования работ остаются:

brian tjepkema May 16th, 2008 at 6:47 pm

Thanks for the support. I have been researching Tichy on the Internet in the last couple of days and I am pleased that there are a lot of questions about the ownership of the photos and the illegality of the Tichy exhibitions. I have some shocking inside information but at this time I will refrain from publishing it here.

Keep your eyes on Paris in June of this year when there will be a major Tichy exhibition at the Centre Pompidou. The Top Hat Man has promised to make an appearance…

http://sarahwichlacz.com/?p=12

В связи с выставкой работ Мирослава Тихого в Centre Pompidou — ссылка от Йорга Кольберга на важную статью:

'Girls, girls, girls'

"Blurred and deliberately flawed, Miroslav Tichy's snatched photographs of women capture the frustrations of desire. At its best, his work has the delicacy and poise of a smutty Vermeer" — Geoff Dyer (I find myself increasingly torn about this photography, for reasons that I might outline later).

Girls, girls, girls
Blurred and deliberately flawed, Miroslav Tichý's snatched photographs of women capture the frustrations of desire. At its best, his work has the delicacy and poise of a smutty Vermeer, argues Geoff Dyer

Geoff Dyer
The Guardian,
Saturday August 2 2008

Van Gogh's rise to posthumous glory is unsurpassable but, in scale and strangeness, the story of Miroslav Tichý's triumph takes some beating. And, unlike Van Gogh, he is around to enjoy it - sort of. Tichý is 82 now and, if he could be persuaded to leave his lair in Kyjov, in the Czech Republic, would see his name writ large on the banners fluttering outside the Pompidou Centre, which is showing a retrospective of his work.

The first things on display are his cameras and lenses, looking as rusty and old as weapons unearthed from the battlefields of the first world war. Photographers tend to be obsessed by kit, are always trying out new lenses, films and processes. Tichý began photographing with the most basic Russian-made camera - and this was the technological high point of his career. Thereafter he became a scavenger, modifying and building his equipment with whatever came to hand: a rewind mechanism made of elastic from a pair of shorts and attached to empty spools of thread; lenses from old spectacles and Plexiglas, polished with sandpaper, toothpaste and cigarette ash. His telephotos were cobbled together from plastic drain pipes and empty food tins. He also made his own enlarger, out of cardboard and planks. Tichý's make-do-and-mend philosophy extends to his own, um, wardrobe. Recent photographs show him holding his DIY camera, wearing a filthy sweater, stitched together with what look like dead beetles. These portraits of the artist as an old castaway are reminiscent of John McCarthy's reaction on first seeing long-term hostage Brian Keenan: "Fuck me, it's Ben Gunn!"

So, what did Tichý do, once he was kitted out with his homemade arsenal? Put as simply as possible, he spent his time perving around Kyjov, photographing women…

… the limitations of the camera meant the framing was often askew - ankle. That is the least of the pictures' defects: most are under or over-exposed as well. Michael Hoppen is currently exhibiting a small selection of Tichý's at his London gallery. I asked him how many great Tichý's pictures there were in total. "In focus?" he replied, as if that were a personal preference, and not a prerequisite for photographic adequacy. "Maybe two or three hundred." In some of these, the ostensible subject is all but blanched out of existence by a blaze of intruding light.

This is, however, the most orthodox phase of Tichý's working methods. Once developed and printed, the pictures were subjected to a protracted form of editorial hazing: left out in the rain, used as beer mats or to prop up wobbly tables. Where the definition was not sharp enough, Tichý would pencil around breasts or hips like an enthusiastic but unqualified cosmetic surgeon. Sometimes he'd frame the pictures with a specially chosen mount: a garbage sack, say, or a bit of squiggled-on card. One of the works at the Pompidou has been gnawed by the rats with which the artist shares his home. It may be hard to resist the conclusion that Tichý is a few frames short of a roll — but he's shrewd with it: "If you want to be famous," he has said, "you have to be worse at something than everyone else in the world."

…Suffering from the delusion that his colleagues were part of a fascist conspiracy, he had a complete breakdown that led to his being committed to a psychiatric clinic for a year.

From that time on, his life assumed the curious combination of neglect and compulsion that was eventually transformed into the stuff of cultural legend (Nick Cave has written a song about him; Michael Nyman is contemplating an opera based on his life). He abandoned everything else and, throughout the fluctuating political climate of the 1960s and 70s, burrowed away at his new existence as "a stone-age photographer".

…Then there is EJ Bellocq, whose photographs — some of them badly damaged — of prostitutes in New Orleans from the 1910s were eventually brought back from a long-forgotten death by Lee Friedlander (who also played a key part in the posthumous revival of William Gedney, another self-sufficient recluse). The difference between Bellocq and Tichý is that the former, evidently, was on close and friendly terms with the women he photographed. Even when Tichý's wonky telephoto enables him to snuggle up deceptively close, his pictures gaze longingly on a world from which he is excluded.

…The value of "I'm Not There" is also a function of its rarity: the song exists only in this incomplete take. The production of images gathered pace throughout the 20th century and then, with the spread of digital, the idea of scarcity or any economy of production simply disappeared. Tichý's pictures — he seems not to have made multiple prints - have the quality of relics that have survived some kind of visual holocaust, when only these decrepit traces (that Berger word again) remain.

…As a species we have remained physically unchanged for millennia. This accounts for the primal pull of Tichý's images. But this biological imperative has been refined, recalibrated, mediated and - at times - challenged by the long history of art. Patched-up equipment notwithstanding, the ageing voyeur and former art student was conscious of the gestures catalogued by this tradition so that his pictures, at their best, have the delicacy and poise of a smutty Vermeer.

Or, to get to the quick of the matter, the indelicacy of a certain Courbet. In 1866, at the request of a Turkish diplomat, Courbet painted a tightly cropped close-up of a woman's stomach and genitals called The Origin of the World. The first Tichý photographs on show at the Pompidou are, in representational terms, near-failures. In some you can make out the shape - elusive and suggestive as the constellations - of what may be a woman. Others are just blurs and protoplasms of light emerging from infinite darkness. If you were able to travel back to the dawn of time, as the universe writhed into existence, this, perhaps, is what you might see.

Текст полностью:

http://www.guardian.co.uk/artanddesign/ ... hotography

Centre Pompidou Presents the First Ever French Exhibition Devoted to Czech Artist Miroslav Tichy



Крупнее: http://www.artdaily.com/imagenes/2008/0 ... ntre-2.jpg

PARIS. — The Centre Pompidou presents the first ever French exhibition devoted to the photographic work of the Czech artist Miroslav Tichy, a singular figure now more than 80 years old. His timeless and unclassifiable work, first introduced to the wider public at the Seville Biennale by curator Harald Szeemann, reveals a unique, marginal and somewhat monomaniacal talent.

The exhibition brings together a number of cameras and some hundred photographs, mostly from the Foundation Tichy-Ocean, as well as works from the collection of the Centre Pompidou…

…His images, shot instinctively or carelessly on his handmade cameras with their makeshift optics, offer an extraordinary vision of a fantastical, eroticised reality, half real, half dream. Women at the swimming-pool, women in the street, women indoors, women on the TV screen: these are his single, obsessional subject. Enlarged and printed on his own improvised equipment, the photographs were then often retouched before being mounted and framed using such materials as old newspaper and cardboard before, sometimes, being put away and forgotten for years. Over- or under-exposed, scratched, blurred, torn, and spotted, they nonetheless reveal an uncategorizable artist, whose methods recall those of the amateur or the naivety of outsider art, but whose images are strongly marked by influences from the classical pictorial tradition. With its endless return to the same subject and the volume and regularity of its production, his work also has affinities with many procedures of the contemporary art of the same period.

http://www.artdaily.com/index.asp?int_n ... &int_sec=2

Пресс-релиз в PDF >

http://www.cnac-gp.fr/images/illustrati ... YTEXTE.jpg



Juin 2008 — 29,90 €
Sous la direction de Quentin Bajac
Éditions du Centre Pompidou
176 pages, 120 illustrations couleurs, 20 x 24,5 cm.
ISBN : 978-2-84426-364-3

http://www.centrepompidou.fr/

Другие показы:

National Gallery of Czech Republic : Int. Triennale of Contemporary Art, Opening 2nd of June 2008

Gallery Michael Hoppen, London: Miroslav Tichy, 12th June–31st July 2008

Biennale of Sydney 2008: 17th of June untill 7th of Sept. 2008, curated by Carolyn Christov-Bakargiev

http://www.tichyocean.ch/

Галерея работ для публикаций:

http://www.tichyocean.ch/Documentations/Works

Stredoeurópsky dom fotografie

FOTO : NOVINY

Fotonoviny sú občasník – vychádzajú štvrťročne a snažia sa mapovať situáciu na Slovensku. Budeme veľmi radi, keď nás budete informovať o všetkých podujatiach, týkajúcich sa fotografie. Zároveň sme otvorení prijímať príspevky – články a recenzie založené na znalosti predmetu.

Na záver by som ešte chcela dodať, že Fotonoviny si môžete stiahnuť aj na internete – konkrétne na našej stránke www.sedf.sk .

В выпуске 2/2008

http://www.sedf.sk/files/fotonoviny/nov0801.pdf

— рецензия Йозефа Мухи

Mysoginovo hračkářství
Výstava: Miroslav Tich&#253;
Galéria mesta Bratislavy – Pálffyho palác

…Předškolní dívenka, odspoda sledující ty uhrančivé skleněné vitríny poblíž dunajského nábřeží, přišla s otázkou, jestli tu vystavují staré hračky. Matka kupodivu přisvědčila. – Proč dítěti neodhalí tajemství amuletů a obřadních idolů?, podíval jsem se úkosem na ženu. Její nadhled mi dal na srozuměnou, že je to svým způsobem jedno: v každém případě běží o modelový svět, v němž se tvůrce snáze vyzná, a o jeho ovládání.

Ve filmu World Star – Miroslav Tichý zaznívá dvojí protagonistův souhlas s nehledaně dosaženou diagnózou. První: „Svět je pro mě nesympatický.“ Druhý: „Mě zajímají jen moje představy.“ (A do třetice jsem v pablescích kina Oko, připomínajících náladu jeskynních obrazáren, zachytil na vstupenku protokol Tichého smíření: „Možná už jsem to všechno zapomněl.“)

Еще на сайте

Month of Photography 2008



http://www.sedf.sk/default.aspx?c=20

Сам же выпуск открывается обложкой с работой Tatian'ы Parcero, работой, которая стала лицом выставки современной фотографии из Латинской Америки

Opening Maps

The Centre for Fine Arts, Brussels, is hosting "Opening Maps" an exhibition of Contemporary Photography from Latin America. Included in the exhibition are artists from Central and South America and the Caribbean. The exhibition was organized by Spanish curator Alejandro Castellote and features more than 200 photographs. The exhibition will be on display through September 21st.


Tatiana Parcero, Mexico City
Cartografia interior nr. 43, 1996


Luis González Palma, Guatemala
Loteria I, 1998

Alejandro Castellote spent several years organizing this exhibition, in a effort to present one of the most complete surveys of important artists, and trends in Latin American Photography. He worked photographers, artists, critics, historians, and people in charge of cultural institutions in the countries of Latin America. Opening Maps has deliberately chosen to leave to one side the usual themes of Latin American art and explore the eclecticism and subjectivity of artists who are sometimes almost unknown. By approaching things from three angles (rituals of identity, scenarios, and alternative histories), however, the exhibition nonetheless succeeds in tracking down the common denominators of a Latin American outlook on the world.

См. крупные версии иллюстраций:

http://art-latinamerica.blogspot.com/se ... hotography

Hedendaagse Latijns-Amerikaanse fotografie
http://www.bozar.be/activity.php?id=7777

Zomer van de fotografie

http://www.bozar.be/summerofphotography/

We Can’t Paint Blog и другие блоггеры сообщают о выставке

Young Curators, New Ideas

BOND STREET GALLERY is pleased to announce Young Curators, New Ideas, a group exhibition organized by amani olu and curated by Alana Celii & Grant Willing (Fjord Photo), Michael Bühler-Rose, Jon Feinstein (Humble Arts Foundation), Laurel Ptak (I Heart Photograph), Amy Stein (amysteinphoto.blogspot.com), and Lumi Tan (Why + Wherefore).

The exhibition examines different trends and perspectives in contemporary art photography through the bias of six new and seasoned curators. Each curator (or curatorial group), using roughly ten feet of space, aims to engage viewers in a discussion on where he or she believes art photography is today.

Имеются вот какие разделы:

Völuspá (куратор — Fjord collective)
Völuspá… focuses on the themes of magic, otherworldliness, secrets and nostalgia. …The images from these eight artists represent the ideas of a multi-verse, which is a self-contained, separate reality. All of the photographs point to a place or moment that feels familiar, but objectively is known to rarely exist. These spurious emotions allow the viewers to address a personal memory or follow one’s spiritual quest; yet when presented with the facts that directly make up the photographs, they feel like something that cannot be experienced.

Opposing Photographers
Artist Michael Bühler-Rose presents Opposing Photographers by Charles Benton. Benton’s work examines the nature of portraiture by returning fine art photography to its roots in conceptual art practice. Benton enables the viewer to be placed within the middle of a photographic “volley” to experience not just the gaze of the photographer towards his or her subject, but also to reflect that gaze back and enable the viewer to experience both subject and object simultaneously.

Light and Color
In Jon Feinstein’s exhibition, Light and Color, he explores notions of science, mysticism, astronomy and the unreal using photographs from Hannah Whitaker, Talia Chetrit, Noel Rodo-Vankuelen, and Ann Woo. Much of the work utilizes stripped down elements such as prisms, rainbows, and seemingly banal sunsets to investigate common themes in art history and larger conceptual issues surrounding the process of image making.

Graphics Interchange Format
Laurel Ptak’s exhibition takes the show in a different direction by commissioning 26 photographers, designers, and new media artists to embrace the animated GIF. Appropriately titled Graphics Interchange Format, the show explores how a lo-fi digital image technology invented in 1987 fares in contemporary context. Ptak gave artists only 3 days to complete the commission and encouraged the use of photographic materials. A few of the artists had never made an animated GIF before, while others were notorious for it…

Amy Stein Curated
In her exhibition, photographer and critic, Amy Stein, selects five photographers working in the tradition of Cindy Sherman, Ralph Eugene Meatyard and Gregory Crewdson. Featuring Alison Brady, Olga Cafiero, Alix Smith, Alex Prager, and Ofer Wolberger, these photographers employ directorial image making strategies to explore identity and representation of the self.

Lumi Tan Curated
Writer and curator, Lumi Tan, presents three photographs from Brian Bress. In these photographs, Bress conflates the space around us, leaving the viewer disorientated and distracted by a certain distorted familiarity. His use of ordinary objects in seemingly chance combinations and chaotic arrangements are uncanny, asking to be decoded but simultaneously resisting interpretation. By engaging the viewer in absurd performative exploration, he points out how easily we are lost in our own cultural detritus.

http://wecantpaint.com/log/?p=1542

http://bondstreetgallery.com/index.html